Journal articles: 'Tango (danse) – Argentine'

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ΛΟΥΚΟΣ, ΧΡΗΣΤΟΣ. "ΚΟΙΝΩΝΙΚΗ ΙΣΤΟΡΙΑ ΤΟΥ ΤΑΝΓΚΟ ΑΠΟ ΤΙΣ ΥΠΟΒΑΘΜΙΣΜΈΝΕΣ ΣΥΝΟΙΚΙΕΣ TOΥ BUENOS AIRES ΣΤΑ ΣΑΛΟΝΙΑ ΤΗΣ ΕΥΡΩΠΗΣ." Μνήμων 20 (January 1, 1998): 251. http://dx.doi.org/10.12681/mnimon.677.

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<p>Christos Loukos, Histoire sociale du tango. Des faubourgs marginaux deBuenos Aires aux salons européens</p><p>Le tango (qui comprend danse, musique et paroles) est né la secondemoitié du XIXe siècle dans les faubourgs marginaux de Buenos Aires.Il s'agit du proquit de plusieurs mélanges culturaux, dont les sujets sontdes natifs mais aussi des centaines de milliers d'immigrants qui accourentde l'Europe en Argentine à la recherche d'un emploi ou d'une meilleurechance. Sont examinées les causes qui ont permis à cette danse marginellede gagner les classes populaires et enfin, après un accueil enthousiasteen Europe, surtout en France, la veille de la première guerremondiale, d'être adoptée en tant que produit national par la bourgeoisieargentine. Le tango, comme expression de l'identité argentine, subit lesconséquences des bouleversements politiques et sociaux qui tourmententle pays à partir de 1930: intervention des militaires dans la vie politique,crise économique des années 30, régime péronien, périodes successivesde vie politique normale et de dictature militaire. Le tango devient uninstrument de propagande pour les régimes autoritaires mais aussi unearme de résistance pour les démocrates, un grand nombre desquels vivaienten exil.</p>

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Alonso, Alberto José. "Celebration of the 208th Anniversary of May Revolution." Diplomatic Ukraine, no. XIX (2018): 242–49. http://dx.doi.org/10.37837/2707-7683-2018-13.

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The article is devoted to the May Revolution in Argentina and the 25th anniversary of the opening of the representation of the Argentine Republic in Ukraine. The May Revolution has its origins in the events of May 25, 1810. It was the day when the foundation act declaring the creation of the Argentine state was issued. Two hundred and eight years ago, the word “freedom” arose in the hearts of Argentines. Remembering the most significant moments of history, Argentines preserve and cherish their desire for peace and freedom. Ukraine and Argentina are negotiating bilateral agreements on social security, extradition, mutual assistance in criminal and civil cases, tourism, cinematographic production, intellectual property protection, environmental safety. More than 50 bilateral agreements have already been signed by the two countries in recent years. The enhancement of cooperation is to be reiterated at the meetings of the Joint Commission for Economic and Trade Affairs in Buenos Aires. It is expected that those meetings would result in visits of delegations of Ukrainian businessmen to Argentina and vice versa. The author draws attention to the unveiling of a commemorative sign dedicated to the father of the Argentine nation, General Don José de San Martín, in the garden square in front of the Embassy of the Argentine Republic to Ukraine. The article also focuses on active efforts to spread the culture of Argentina through the Argentine House in Kyiv that offers a wide range of activities, including Argentine literature workshops, tango and folk dance classes, tourism seminars, movie screenings. The author argues that nothing brings people closer together than culture and concludes that relations between Ukraine and the Argentine Republic are at a high level. Keywords. Argentine Republic, May Revolution, Ukraine, bilateral agreements, Argentine culture, economy, Buenos Aires.

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André, María Claudia. "Tango y Lunfardo: un estudio transatlántico sobre la identidad argentina / Tango and Lunfardo: a Transtlantic study about Argentinian Identity." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 297. http://dx.doi.org/10.7203/kam.9.9547.

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Resumen: Nacido en el arrabal bonaerense, producto de múltiples influencias socio-culturales, el tango argentino indudablemente se encuentra entre los estilos de música que mejor logran transmitir el pensamiento y el sentir de un pueblo. Este ensayo examina la función y el efecto de la experiencia transatlántica de la inmigración europea como una fuerza que moldeó y transformó la cultura fundacional argentina, redefiniendo no sólo su perfil racial, sino también gran parte de su panorama intelectual, social y cultural. Empleando como lente crítico los estudios poscoloniales y transatlánticos, el presente ensayo analiza la evolución de la música y del baile del tango con el fin de definir la compleja red de referentes que conforman la identidad del país. Palabras clave: tango, identidad, transatlántico, poscolonial, inmigración, subalterno, lunfardo.Abstract: Born in the slums of Buenos Aires, a product of multiple socio-cultural influences, the Argentine tango is undoubtedly among the music styles that best conveys the thought and the feeling of the people. This essay examines the role and effect of the transatlantic experience of Europan immigration as a force that shaped and transformed Argentina’s foundational culture, redefining not only its racial profile, but also much of its spiritural, social, and intellectual landscape. Through the critical lens of postcolonial and transatlantic studies, the current essay analizes the evolution of tango music and dance aiming to determine the complex network of referents that conform the country’s identity.Keywords: tango, identity, transatlantic, postcolonial, immigration, subaltern, lunfardo.

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Skinner, Jonathan. "Argentine Tango: social dance health ‘to’ you." Anthropology & Aging 34, no. 4 (April 1, 2014): 260–63. http://dx.doi.org/10.5195/aa.2014.5.

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Barnstaple, Rebecca. "Trading in Imaginaries: Locating Authenticity in Argentine Tango." Phenomenology & Practice 11, no. 1 (July 11, 2017): 43–57. http://dx.doi.org/10.29173/pandpr29337.

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Argentine tango tends to be associated with highly gendered images of women and men locked in contorted embraces. These images constitute a tango imaginary that is removed from the lived experience of the dance. Remaining close to the experiential core of tango, this paper provides a Heideggerian-inspired phenomenological account that re-imagines tango as a mode of being-in-the-world. By situating us in direct and constant relationship with an attentive partner and furnishing a complex grammar of constraints, tango generates a frame for creating and sustaining worldhood. By examining the how of dance, the kind of experience it offers up, we approach the dynamic emergence of Being. In what follows, I draw on my years of dancing tango to elaborate an understanding of the experiential dimensions of the dance, and how these relate to the development of shared focal practices that disclose insights associated with embodied being-in-the-world.

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Pattinson, Steven, Malgorzata Ciesielska, David Preece, John D. Nicholson, and Anna Alexandersson. "The “Tango Argentino”: A Metaphor for Understanding Effectuation Processes." Journal of Management Inquiry 29, no. 3 (June 4, 2018): 317–29. http://dx.doi.org/10.1177/1056492618776102.

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The authors use the analogy of the Argentine Tango to illuminate entrepreneurial effectuation as a process of becoming. Drawing on the metaphor of dance, the authors highlight seven areas for theory development that could further a performative theory of effectuation. These include the study of the micro-level movement and flow in the dance as “intimate steps,” and understanding the interplay between entrepreneur and ecosystem as “contextual rhythms.” They further propose that the study of changing leadership in the dance could illuminate how causal processes “become” effectual and suggest a concept of “attunement” to consider how inexperienced entrepreneurs learn contextual rhythms and, therefore, benefit for effectuation processes. Finally, they posit that the intimate steps leading to creativity in the dance relative to different levels of proximity and distance between the dancers should be understood alongside the movements and flows through which dancers maintain their individuality during such intimate movements and flows.

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Taylor, Julie. "Death Dressed As a Dancer: The Grotesque, Violence, and the Argentine Tango." TDR/The Drama Review 57, no. 3 (September 2013): 117–31. http://dx.doi.org/10.1162/dram_a_00282.

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Tango dancers in Buenos Aires milongas (dance clubs) create a mise-en-scène where intimacy and anonymity clash. Their tango and the rules of etiquette they practice share dissonant experiences of violence, exclusion, and trauma with an Argentine grotesque, the grotesco criollo.

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Gritzner, Karoline. "Between Commodification and Emancipation: The Tango Encounter." Dance Research 35, no. 1 (May 2017): 49–60. http://dx.doi.org/10.3366/drs.2017.0182.

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This article offers an examination of the aesthetics and philosophy of Argentine tango, arguing for tango's contradictory power of resistance to the tendency of cultural commodification in contemporary society. The dancing couple achieves a sense of sovereignty and improvisational freedom which is in tension with the increasing commodification and standardisation of art in the age of globalisation. Written partly from an auto-ethnographic, experience-based perspective, the article foregrounds tango's choreography of otherness, relationality, passion and playful improvisation in an attempt to elaborate on tango's significance as a dance of intimate resistance to political economy. What is produced in tango's ‘space of touch’ remains unproductive, unexplainable, and non-commodifiable. It is argued that Argentine tango might be able to resist total codification due to its improvisational nature and the politics of touch, passion and transgression that emerge from the ephemerality of the encounter, the ineffable ‘tango moment’. Tango here is considered as a subversion of the social framing which it nevertheless needs in order to function; it performs the possibility of a transgression, intimately yet publicly.

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Kreutz, Gunter. "Does partnered dance promote health? The case of tango Argentino." Journal of the Royal Society for the Promotion of Health 128, no. 2 (March 2008): 79–84. http://dx.doi.org/10.1177/1466424007087805.

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Olsson-Forsberg, Marito. "Construire l'état de danse à travers l'empathie kinesthésique. L'exemple de l'apprentissage du tango argentin." Staps 102, no. 4 (2013): 89. http://dx.doi.org/10.3917/sta.102.0089.

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Kovács, Nóra. "Intangible heritage in global space: tradition and the quest for the authentic dance experience in the international world of tango." Tánc és Nevelés 1, no. 1 (August 17, 2020): 130–45. http://dx.doi.org/10.46819/tn.1.1.130-145.

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The ‘Tango of Argentina and Uruguay’ was inscribed in the List of Intangible Cultural Heritage of the UNESCO in 2009 to be safeguarded as one of humanity’s outstanding cultural achievements. Controversies and shortcomings related with the inscription have been pointed out by several scholars working on tango as a social phenomenon. Criticism about the nomination document and the decision about the inscription targeted two principal focus areas and were expressed from two different standpoints both of which miss the inclusion of living grassroots tango communities and what they stand for from the heritage definition of tango. This paper intends to connect academic and community reactions given to its heritagization with personal observations of recent trends in the international, and especially in the European world of tango; particularly with the increasing presence of two-three-day international tango dance occasions commonly referred to as tango marathons or encuentro milongueros. In the complex, multi-layered and multi-vocal global tango world these events have been associated with essential, authentic milonga experiences, a sense of prolonged intimacy and community through shared dances and shared dance space.

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Juzefovič, Agnieška. "Meditation and Dance in Creative Society: Contemplative Consciousness in Daoism, Zen and Argentine Tango." Coactivity: Philosophy, Communication 23, no. 1 (July 15, 2015): 3–12. http://dx.doi.org/10.3846/cpc.2015.221.

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This paper deals with the particularly relevant topic in the contemporary society – Asian meditative practices and methods of self-development. The first chapter deals with the notion of contemplative, enlightened consciousness in Daoism and Zen. The second chapter shows how meditative consciousness could be achieved through social tango. Six theses are argued as appropriate for both Daoism and Zen as well as tango: 1) contemplative, purified consciousness is empty of disturbing thoughts and focused toward the essence; 2) contemplative, purified consciousness is not only empty but also brimming full; 3) contemplative, purified consciousness is identical with everyday mind; 4) contemplative mind is functioning according to the principles of non-action and naturalness; 5) meditation leads toward the unity and integrity of consciousness and body, consciousness and outside world; 6) active meditation is an effective way to obtain aims mentioned above. The argumentation of such thesis helps to show that tango is akin to various meditative practices. So it could not only be successfully used as a form of entertainment but also as a meditative practice, leading toward aims, similar to those of Zen meditations.

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McMains, Juliet. "Rebellious Wallflowers and QueerTangueras: The Rise of Female Leaders in Buenos Aires’ Tango Scene." Dance Research 36, no. 2 (November 2018): 173–97. http://dx.doi.org/10.3366/drs.2018.0237.

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This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.

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Heller, Veronika. "Vom Geschlechterkampf des 17. Kapitels in Pina Bauschs Kontakthof." Paragrana 27, no. 1 (August 28, 2018): 327–37. http://dx.doi.org/10.1515/para-2018-0024.

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AbstractThis essay is about a short sequence of Pina Bausch’s Kontakthof with ladies and gentlemen over 65. It discusses the hypothetical question as to “how to dance tango without dancing a tango?” I argue that the principle movement topics and practices of the Argentine Tango such as leading and following or the cruz are transformed by choreographic modes. In this way they constitute the structure of the Pina Bausch stage sequence.

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Nabaïs, L. "CTangoPsy : le tango argentin, une danse à deux, au service d’un processus d’accompagnement à visée thérapeutique." Psycho-Oncologie 14, no. 1-2 (March 2020): 57–60. http://dx.doi.org/10.3166/pson-2020-0118.

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Objectif : Raviver l’élan vital dans une posture thérapeutique autre que celle d’une offre de parole qui n’est pas toujours le moyen privilégié des malades pour dire leurs souffrances. Matériel et méthode : Un atelier fermé, hebdomadaire, de tango, coanimé, proposé à des patients touchés par le cancer. Durée : six mois. Résultats : Permet de se réapproprier son corps, de modifier l’image corporelle blessée. Stimule la sensorialité, vitalise la confiance, l’estime de soi. Favorise les liens conjugaux et sociaux. Conclusion : Effets thérapeutiques constatés.

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Rufo, Raffaele. "(Re-)engaging touch as a tango dancer: An experimental framework for kinaesthetic listening1." Journal of Dance & Somatic Practices 12, no. 2 (December 1, 2020): 207–28. http://dx.doi.org/10.1386/jdsp_00024_1.

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This article explores how the felt sense of touch, as engaged through the enabling constraints of the Argentine tango duet, can facilitate an experience of kinaesthetic listening in the spaces emerging between the dancer’s inside and outside worlds. The author’s habitual perception of giving and receiving touch as a tango dancer is destabilized by framing a series of somatic experiences in settings where customary tango conditions and assumptions do not apply. This involves experimenting with methods and tools of inquiry borrowed from contact and contemporary dance improvisation. The article argues that when practiced as a form of kinaesthetic listening, tango is conducive to a process of sensing and feeling together. In this process, it becomes possible to be touched both physically and affectively by the movement impulses negotiated between the partners. This possibility unsettles the reductive idea of one’s body as a separate entity preceding the encounter.

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Worthen-Chaudhari, L., M. T. Lamantia, S. M. Monfort, W. Mysiw, A. M. W. Chaudhari, and M. B. Lustberg. "Partnered, adapted argentine tango dance for cancer survivors: A feasibility study and pilot study of efficacy." Clinical Biomechanics 70 (December 2019): 257–64. http://dx.doi.org/10.1016/j.clinbiomech.2019.08.010.

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Pieldner, Judit. "From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 23–44. http://dx.doi.org/10.2478/ausfm-2019-0013.

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Abstract Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1

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Hackney, ME, and GM Earhart. "Effects of dance on movement control in Parkinson’s disease: A comparison of Argentine tango and American ballroom." Journal of Rehabilitation Medicine 41, no. 6 (2009): 475–81. http://dx.doi.org/10.2340/16501977-0362.

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McKinley, Patricia, Allison Jacobson, Alain Leroux, Victoria Bednarczyk, Michel Rossignol, and Joyce Fung. "Effect of a Community-Based Argentine Tango Dance Program on Functional Balance and Confidence in Older Adults." Journal of Aging and Physical Activity 16, no. 4 (October 2008): 435–53. http://dx.doi.org/10.1123/japa.16.4.435.

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Tango-dancing and walking programs are compared in nondemented seniors at risk for falls. Fallers (N= 30) age 62–91 were randomly assigned to a 10-wk (40 hr, 2 hr 2×/wk) tango class or walk group. The Activities-specific Balance Confidence (ABC) scale, sit-to-stand scores, and normal and fast walk were measured pre-, post-, and 1 month postintervention. Two-way repeated-measures ANOVAs indicated a significant main effect (p< .01) for time on all measures. Group and interaction effects for ABC led to improvement only in tango because of high baseline mean for the walk group. Clinical improvements measured using Established Populations for Epidemiologic Studies of the Elderly scoring were greater for the tango group. From these preliminary results it is suggested that although both interventions are effective activities for increasing strength and walk speed, tango might result in greater improvements than walking in balance skills and in walking speed in the 10-wk intervention. The study needs to be repeated with a greater sample size to determine the effectiveness of walking on fear of falling.

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Foster, Erin R., Laura Golden, Ryan P. Duncan, and Gammon M. Earhart. "Community-Based Argentine Tango Dance Program Is Associated With Increased Activity Participation Among Individuals With Parkinson's Disease." Archives of Physical Medicine and Rehabilitation 94, no. 2 (February 2013): 240–49. http://dx.doi.org/10.1016/j.apmr.2012.07.028.

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Bosse, Joanna. "Salsa Dance and the Transformation of Style: An Ethnographic Study of Movement and Meaning in a Cross-Cultural Context." Dance Research Journal 40, no. 1 (2008): 45–64. http://dx.doi.org/10.1017/s0149767700001364.

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Over the last century perennial surges in the popularity of Latin American couple dance genres such as tango and rumba in the United States have served as lightning rods for debate on issues of morality, performance, and identity. These “crazes” have fueled the collective American imagination, reinforcing a type of Latin American exotica that prevailed throughout the twentieth century and into the next. Consequently, they have also fostered an entirely new style of performance as white Americans borrowed—or perhaps better stated, appropriated—these genres for their own. For instance, the two styles of tango performed by ballroom dancers today, some one hundred years after its introduction to American audiences in theaters and exhibition performances, is sufficiently distant from its Argentine roots to be considered an entirely different dance employing different movements, rhythms, and musical accompaniment.This article explores this particular brand of cross-cultural borrowing through an ethnographic accounting of a salsa dance formation team in central Illinois. Salsa is the latest of the Latin dance crazes, and since the earl. 1990. the genre has experienced increased attention from mainstream American audiences who have invested significant resources in order to learn to dance salsa. Formation teams are presentational performance ensembles, in this case combining salsa; ballroom; and staged, theatrical dance, and generally draw their enthusiasts from ballroom dance circles.

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Pinniger, Rosa, Rhonda F. Brown, Einar B. Thorsteinsson, and Patricia McKinley. "Argentine tango dance compared to mindfulness meditation and a waiting-list control: A randomised trial for treating depression." Complementary Therapies in Medicine 20, no. 6 (December 2012): 377–84. http://dx.doi.org/10.1016/j.ctim.2012.07.003.

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Kimmel, Michael. "Intersubjectivity at Close Quarters: How Dancers of Tango Argentino Use Imagery for Interaction and Improvisation." Cognitive Semiotics 4, no. 1 (August 1, 2012): 76–124. http://dx.doi.org/10.1515/cogsem.2012.4.1.76.

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Abstract The article explores the prerequisites of embodied ‘conversations’ in the improvisational pair dance tango argentino. Tango has been characterized as a dialog of two bodies. Using first- and second-person phenomenological methods, I investigate the skills that enable two dancers to move as a super-individual ensemble, to communicate without time lag, and to feel the partner’s intention at every moment. How can two persons - walking in opposite directions and with partly different knowledge - remain in contact throughout, when every moment can be an invention? I analyze these feats through the lens of image schemas such as BALANCE, FORCE, PATH, and UP-DOWN (Johnson 1987). Technique-related discourse - with its use of didactic metaphor - abounds with image-schematic vectors, geometries, and construal operations like profiling. These enable the tango process: from posture, via walking technique and kinetics, to attention and contact skills. Dancers who organize their muscles efficiently - e.g., through core tension - and who respect postural ‘grammar’ - e.g., a good axis - enable embodied dialog by being receptive to their partners and being manoeuvrable. Super-individual imagery that defines ‘good’ states for a couple to stick to, along with relational attention management and kinetic calibration of joint walking, turns the dyad into a single action unit. My further objective is a micro-phenomenological analysis of joint improvisation. This requires a theory to explain dynamic sensing, the combining of repertory knowledge with this, and the managing of both in small increments. Dancers strategically sense action affordances (Gibson 1979) or recognize and exploit them on the fly. Dynamic routines allow them to negotiate workable configurations step-wise, assisted by their knowledge of node points where the elements of tango are most naturally connected and re-routed. The paper closes with general lessons to learn from these highly structured and embodied improvisational skills, especially regarding certain blind spots in current social cognition theory.

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Witkoś, Joanna, and Magdalena Hartman-Petrycka. "Implications of Argentine Tango for Health Promotion, Physical Well-Being as Well as Emotional, Personal and Social Life on a Group of Women Who Dance." International Journal of Environmental Research and Public Health 18, no. 11 (May 31, 2021): 5894. http://dx.doi.org/10.3390/ijerph18115894.

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Background: The aim of the research was to determine the effect that dance has on the promotion of health, physical well-being, as well as the emotional, personal and social life of women who dance. In addition, the impact of the physical activity of long, often all-night dancing events on women’s health was investigated. This included possible disturbances in their monthly cycle and circadian rhythm, taking into account symptoms of biological rhythm disturbances. Methods: The study involved 214 women: tango group: 109, sedentary group: 105. The Mann–Whitney U and chi2 tests were used to compare the groups, as well as multiple ordinal regression to analyse individual predictors of missed menstrual periods. Results: The tango vs. sedentary groups did not differ in the duration of menstrual bleeding, the degree of pain during menstruation, the regularity of menstruation, the number of regular monthly cycles per year, and amenorrhea. Intermenstrual spotting was more common in dancers (tango 12.8% vs. sedentary 4.8%; p = 0.038). The frequency of missed periods was not increased by any of the assessed aspects. In 59.6% of female dancers, milongas caused disturbances in circadian rhythms, including extreme fatigue and drowsiness (36.7%), 66.0% of the dancers mentioned only positive aspects of Argentine Tango’s impact on their personal life. Conclusions: tango plays a positive and multifaceted role in the lives of dancers and fulfils the need for social contact. The physical effort put into this form of physical activity does not significantly affect the menstrual cycle, and thus the reproductive functions, and can be recommended as an attractive and safe form of physical recreation for women.

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Hackney, Madeleine E., Svetlana Kantorovich, and Gammon M. Earhart. "A Study on the Effects of Argentine Tango as a Form of Partnered Dance for those with Parkinson Disease and the Healthy Elderly." American Journal of Dance Therapy 29, no. 2 (August 15, 2007): 109–27. http://dx.doi.org/10.1007/s10465-007-9039-2.

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Iovita, Cristina. "Le rat est mort ! Ou le jeu de la tradition dans l’Hamlet de William Shakespeare (Notes de mise en scène)." L’Annuaire théâtral, no. 52 (October 20, 2014): 25–35. http://dx.doi.org/10.7202/1027009ar.

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L’article décrit le processus de création du spectacle Hamlet de William Shakespeare adapté et mis en scène par Cristina Iovita au Théâtre de l’Utopie (Montréal, mars-avril 2010). La première partie examine les rapports entre le personnage de Polonius et celui de Pantalon, personnage typique de la commedia dell’arte qui donne la « clé » de l’adaptation scénique. La deuxième partie présente la reconstruction du texte de Shakespeare sur les structures de base de la commedia dell’arte, structures identifiées et inspirées par la « scène des acteurs » (Acte II, Scène 2) du texte original. La troisième partie suit les innovations de style amenées par l’insertion dans la trame scénique du tango argentin, une danse narrative de type populaire exprimant les rites de la passion. La conclusion porte sur le potentiel d’actualisation du répertoire classique par la récupération des moyens scéniques traditionnels.

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Onur KAHVECİ - Özgür KAHVECİ, Dr. "ARJANTİN TANGO DANSINDAKİ DOĞAÇLAMA OLGUSUNUN DANSÇI BAKIŞ AÇISI İLE ARAŞTIRILMASI VE VİDEO ANALİZ PROGRAMI İLE GÖSTERİLMESİ / Stigation Of Improvisation Phenomenon In Argentine Tango Dance On The Basis of Dancer And Its Demonstration With Video Analysis Program." International Journal of Interdisciplinary and Intercultural Art 11, no. 11 (2020): 203–17. http://dx.doi.org/10.29228/ijiia.140.

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Darmant, N., F. Fayet, C. Lambert, B. Pereira, M. Rodere, A. Fan, M. Soubrier, and M. Duclos. "POS1475-HPR EFFECT OF ARGENTINE TANGO PRACTICE ON TOTAL PHYSICAL ACTIVITY TIME IN PATIENTS WITH CHRONIC INFLAMMATORY RHEUMATISM: A PILOT STUDY." Annals of the Rheumatic Diseases 80, Suppl 1 (May 19, 2021): 1022.3–1023. http://dx.doi.org/10.1136/annrheumdis-2021-eular.690.

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Background:Most patients with chronic inflammatory rheumatism (CIR) have a physical activity (PA) level below recommendations [1,2]. Currently, adapted structures offer a range of activities supervised by adapted physical activity educators. To the best of our knowledge, Argentinean tango is not yet offered in these structures.Objectives:The objective of this pilot study was to study the effect of 24 consecutive sessions of Argentinean tango on the total PA level in patients with CIR, including rheumatoid arthritis (RA) and spondyloarthritis (AS).Methods:In this controlled, randomized, open-label, clinical trial with two parallel arms, patients were required to attend two tango sessions per week, 48 sessions from 0 (M0) to 6 months (M6) for the intervention group (IG) and 24 sessions from 3 months (M3) to M6 for the control group (CG). Total PA time was measured at M3 using the Global Physical Activity Questionnaire (GPAQ) [3].Results:A total of 27 patients (23 women) were included, including 15 with RA and 12 with AS. Mean age was 59 ± 12 years, and median disease duration was 10 years (IQR: 3-19). The majority of patients had background treatment (conventional and/or biological). At M3, 22 patients could be evaluated (11 GC patients and 11 GI patients), as 3 patients were lost to follow-up and 2 were unable to come in due to health or professional reasons. The 11 GI patients attended a median of 16 sessions (IQR: 8-22), i.e., approximately one session per week. At M3, the total PA time was not increased, regardless of the measurement method, GPAQ questionnaire (effect size and 95% confidence interval (CI): 0.03 [-0.60; 0.67], p=0.91) or accelerometer (effect size and 95% CI: 0.43 [-0.37; 1.24], p=0.26), and regardless of the intensity of the PA. No significant change was found for sedentary time, disease activity, fatigue, or anxiety. However, improvements were found in body appreciation as assessed by the Body Appreciation Scale 2 questionnaire (p=0.016), balance (p=0.053), wrist bending angle (p=0.092), and shoulder amplitude (p=0.093). The few participants in this study is explained by the geographic distance of the classes and their homes, the lack of availability of patients in professional activity, fatigue, or not liking dance (mainly among men).Conclusion:The results of this pilot study suggest that one Argentinean tango session per week in CIR patients is more achievable than two sessions as originally planned. As the practice of classes in hospitals is constrained due to geographic distance, the sessions could be offered in adapted structures. Nevertheless, our pilot study shows that the Argentinean tango is beneficial for body appreciation in patients with CIR. A qualitative study is needed to better understand these effects.References:[1]Haute Autorité de Santé (2007). Rheumatoid arthritis: therapeutic aspects excluding drugs and surgery - medico-social and organizational aspects. Professional recommendations service - Medical-economic evaluation and public health service.[2]Haute Autorité de Santé (2008). Spondylarthritis: guide - long-term condition. Good Professional Practices Department - Communication Department.[3] Cleland CL, Hunter RF, Kee F, Cupples ME, Sallis JF, Tully MA. (2014 Dec). Validity of the global physical activity questionnaire (GPAQ) in assessing levels and change in moderate-vigorous physical activity and sedentary behaviour. BMC Public Health. 10;14:1255. doi: 10.1186/1471-2458-14-1255.Disclosure of Interests:None declared

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Alanbay, Şengül Yıldız. "Argentina Queer Tango: Dance and Sexuality Politics in Buenos Aires by María Mercedes Liska. Translated by Peggy Westwell and Pablo Vila. 2016. Lanham, MD: Lexington Books. 182 pp. Hardcover. ISBN: 9781498538510." Dance Research Journal 51, no. 2 (August 2019): 89–92. http://dx.doi.org/10.1017/s0149767719000226.

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Kashyap, Amrit, Madeleine Hackney, Venkatagiri Krishnamurthy, Lisa Krishnamurthy, Krish Sathian, Bruce Crosson, Steve Wolf, et al. "2334 Neural correlates of externally Versus internally guided dance-based therapies for people with Parkinson’s disease." Journal of Clinical and Translational Science 2, S1 (June 2018): 21. http://dx.doi.org/10.1017/cts.2018.99.

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OBJECTIVES/SPECIFIC AIMS: Parkinson’s disease (PD) is a condition that affects over a million Americans, and despite current medical therapies, the progression of the disease results in impaired generation of internally timed or guided (IG) movements. To address this loss of motor function, previous rehabilitation therapies have focused on remediating the affected striatal-thalamic-cortical circuits (STC), primarily thought to be responsible in generating timed motor patterns. However, given the disease leads to the cell death of dopaminergic cells that are essential for proper STC function, we propose a motor therapy aimed at utilizing a compensatory parallel cerebellar-thalamic-cortical (CTC) pathway, recruited to perform externally guided (EG) movements, in which gait initiation is driven from sensory input. Our previous study has shown efficacy in our novel argentine tango therapy and improves behavioral measures above the relevant MCID threshold, but it has not been established that the CTC are in the causal pathway that are responsible for these changes. Using neural measures from task fMRI, we have begun to characterize networks that have changed and quantify any associations with behavioral metrics. METHODS/STUDY POPULATION: Patients were randomly assigned to an IG (n=18), EG (n=18), or education contact control (n=14). Participants were assessed preintervention and postintervention for behavioral motor and cognitive measures and neurophysiologically with task based fMRI. In the task, participants performed a foot tapping task under both IG (tap their foot in previously learned rhythm) or EG (tap immediately after receiving a tactile cue on their hand) conditions. The fMRI data were preprocessed using AFNI and registered to MNI standard space. The brainnetome atlas was applied and the average time series of each region of interest (ROI) was used to increase the signal to noise ratio. The activation of these ROI with respect to the stimulus was modeled using GLM, and we estimated the area under the curve during the task blocks. A 1-way ANOVA analysis on these betas were performed between the pre and the post intervention time points and the ROIs that were above a significance of 0.95 were identified and corrected for multiple comparisons. The change in beta in all ROIs for each individual were calculated and then correlated with the changes in the behavioral data, to see which changes in ROI areas matched the best with the behavioral changes. RESULTS/ANTICIPATED RESULTS: The EG group showed significant changes only in the EG task in 2 areas—inferior frontal gyrus and inferior temporal sulcus. Correlating to the cognitive behavioral measures show reduced error from the Inferior frontal gyrus (corr>0.5) best reflect changes in observed. There were no changes to either the STC or the CTC pathways. The IG group showed no changes behaviorally and showed no changes neurally as well. The control group showed no changes behaviorally, but neuronally certain DMN nodes, such as the precuneus and inferior temporal regions showed a significant change for both tasks. DISCUSSION/SIGNIFICANCE OF IMPACT: Addressing the damaged STC pathway directly through IG therapy may not be effective. The EG therapy may not be able to enhance the STC pathway. However, the therapy appears to utilize new areas in the frontal regions and correlates with positively with changes in spatial memory and balance tasks. Contrary to our hypothesis the CTC circuit was not upregulated for performance of the IG or EG task, but therapy may have enhanced recruitment of other cognitively engaged areas. The educational control group interestingly showed changes in the DMN network, which has been shown to be linked to attention during tasks blocks.

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Pallesen, Hanne. "Tango- en livgivende dans." Forum for Idræt 26, no. 2 (July 1, 2010). http://dx.doi.org/10.7146/ffi.v26i2.31604.

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Artiklen belyser hvad der kan opstå, når mennesker mødes i forskellige netværk og udfolder en fælles interesse. Hvor samværet i tango handler ikke om sundhed, men om at danse. Tango – a life-giving danceMusic, singing and dancing have often been conceptualised as enhancing well-being as well as promoting mental and physical health. The purpose of this paper is to investigate what happens when people meet and dance tango Argentino. This dance has no intentions regarding health, but unintentional it might promote health.Methods: Fieldwork in tango milieu in Denmark, Australia and Argentina, including participant- observation and 20 informal and eight formal interviews.Results: Tango Argentino is characterized by close expressive bodily contact, consideration for one another in the dance, motivation and involvement, various networks (local, regional, national and international) and rituals that shape the condition so everybody confidentially can join the dance milieu.Conclusion: Looking with the eyes of a salutogenic health model and taken together the results, it seems that tango dance, as a moderate physical exercise and a primary leisure, promote health. Implications of dance for social, emotional and physical well-being and health promotion need further research.

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"Tango Therapy: Current Status and the Next Perspective." Journal of Clinical Review & Case Reports 3, no. 8 (October 20, 2018). http://dx.doi.org/10.33140/jcrc/03/08/00005.

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Dance is basically a complex physical activity which either casually or formally organized in which people take part for fitness, health and well-being, social relationships or competition and a worldwide human activity that involves complex whole body movements through space synchronized to music. Dance-related reviews of evidence have examined the effectiveness of dance therapy on psychological and physical health and well-being outcomes in patients with cancer, for schizophrenia, and on depression. Dance therapy was officially described firstly in 1948. The medical application of dance therapy was well reviewed in neurologic conditions. Dance has been used extensively for the treatment of gait and balance dysfunction in individuals with Parkinson’s disease. Especially, Argentine tango is the most frequently employed dance form in the treatment of Parkinson’s disease. Tango therapy may hold promise as an intervention to improve gait, balance, and mobility in a variety of neurological conditions. Tango therapy was approached from dance therapy to the current status of medical application. A more systemic analysis of tango movement for proper and effective therapeutic application of tango is necessary for medical purposes.

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De Luca, Valeria. "Le tango argentin entre apprentissage et improvisation. Quel média pour quel reenactment ?" Intermédialités, no. 28-29 (September 20, 2017). http://dx.doi.org/10.7202/1041085ar.

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Inscrit en 2009 sur la liste du patrimoine culturel immatériel de l’humanité de l’UNESCO, le tango argentin est transmis par sa propre pratique caractérisée par l’improvisation de la milonga (le bal). Avec la multiplication de traces audiovisuelles diverses — des vidéos de démonstration aux systèmes de motion capture, en passant par des sites web et des applications pour l’apprentissage de la danse —, il s’agit de comprendre les relations entre l’improvisation comme pratique fondatrice du tango et ses diffractions médiales, ainsi que le statut de ces diffractions. Quels aspects du mouvement et de la pratique restituent-elles ? Sont-elles elles-mêmes un reenactement médial se superposant à celui des corps des sujets ?

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Rufo, Raffaele. "Crosswalk: Performing the City as a Learning Experience." Journal of Public Pedagogies, no. 2 (November 21, 2017). http://dx.doi.org/10.15209/jpp.1127.

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Crosswalk is a site-responsive performance conducted in the middle of a pedestrian crossing in the inner streets of Melbourne and exposed in the homonymous video attached to this article. The performance – an experiment with the duet dance form of Argentine tango – emerged out of a practice-based process of inquiry. My failed attempt to find my tango in the city while finding my place in the city through the tango becomes a drive to explore the nexus between learning and the experience of publicness and defuse the rationalist reliance on the isolated cognitive individual as the key pedagogical agent and target. I argue that, in Crosswalk tango worked (or could have worked) as a reverse public pedagogy through somatic connection not only between dance partners but also with the broader environment. Becoming vulnerable to the otherness of the outside world is one way of promoting diversity and fostering plurality.

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Herrera, Santiago, and Ferhan Salman. "Tangos, Sambas or Belly Dancing? Or, Do Spreads Dance to the Same Rhythm? Signaling Regime Sustainability in Argentina, Brazil and Turkey." SSRN Electronic Journal, 2008. http://dx.doi.org/10.2139/ssrn.1997158.

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Vazquez, Laura, and Pablo Turnes. "Contar desde los fragmentos. Rupturas, memoria y lenguaje en dos casos de la historieta argentina contemporánea." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 74 (September 24, 2019). http://dx.doi.org/10.18682/cdc.vi74.1095.

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A partir de las historietas Intrusos, de Dante Ginevra y Diego Agrimbau; y de Menna-Lanzillotto de Matías Trillo, el artículo se propone rastrear formas de re-construir los sentidos de la memoria desde un lenguaje como la historieta desde un contexto histórico presente. El decurso histórico se ve compuesto por fragmentos que construyen tanto un modo de lectura –el historietístico– como una perspectiva de la construcción de la memoria en relación con el pasado inmediato. En esa reconstrucción, desde la evidencia de los escombros, hay un acto político: el de la lectura/memoria como constante redefinición de aquello que, en principio, aparecería como separado y disperso, pero que al ser re-ensamblado propone una lectura diferente, compartida, cómplice.

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Nakano, Hiroko, Mari-Anne M. Rosario, and Constanza de Dios. "Experience Affects EEG Event-Related Synchronization in Dancers and Non-dancers While Listening to Preferred Music." Frontiers in Psychology 12 (April 12, 2021). http://dx.doi.org/10.3389/fpsyg.2021.611355.

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EEGs were analyzed to investigate the effect of experiences in listening to preferred music in dancers and non-dancers. Participants passively listened to instrumental music of their preferred genre for 2 min (Argentine tango for dancers, classical, or jazz for non-dancers), alternate genres, and silence. Both groups showed increased activity for their preferred music compared to non-preferred music in the gamma, beta, and alpha frequency bands. The results suggest all participants' conscious recognition of and affective responses to their familiar music (gamma), appreciation of the tempo embedded in their preferred music and emotional arousal (beta), and enhanced attention mechanism for cognitive operations such as memory retrieval (alpha). The observed alpha activity is considered in the framework of the alpha functional inhibition hypothesis, in that years of experience listening to their favorite type of music may have honed the cerebral responses to achieve efficient cortical processes. Analyses of the electroencephalogram (EEG) activity over 100s-long music pieces revealed a difference between dancers and non-dancers in the magnitude of an initial alpha event-related desynchronization (ERD) and the later development of an alpha event-related synchronization (ERS) for their preferred music. Dancers exhibited augmented alpha ERD, as well as augmented and uninterrupted alpha ERS over the remaining 80s. This augmentation in dancers is hypothesized to be derived from creative cognition or motor imagery operations developed through their dance experiences.

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Ravn, Susanne. "Om Kropsbevidsthed og bevægelsesfornemmelser: En fænomenologisk beskrivelse af danseres bevægelsesekspertise." Tidsskriftet Antropologi, no. 69 (April 15, 2014). http://dx.doi.org/10.7146/ta.v0i69.27294.

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I denne artikel kombineres fænomenologi og etnografiske metoder med det formål at beskrive, hvorledes dansere bruger deres kropsbevidsthed og arbejder med deres bevægelsesfornemmelse. Artiklens formål forfølges i to empiriske undersøgelser. Den første undersøgelse har afsæt i professionelle danseres daglige praksis – relateret til henholdsvis ballet og moderne danseteknikker. Dansernes beskrivelser viser, at kroppens fysikalitet kan være nærværende for bevidstheden som en fornemmelse, uden at der er tale om et refleksivt foretagende, og uden at kroppen fremtræder som objekt. Denne fornemmelse udgør en vigtig ekstra, eller tredje, dimension af dansernes kropslige selvbevidsthed og deres bevægelsesekspertise. Den anden undersøgelse omhandler argentinsk tango og sportsdans. I begge former for pardans har partnerens bevægelser helt grundlæggende betydning for dansernes bevægelsesfornemmelse. Fænomenologisk set er der tale om en kropslig ekstension: Den bevægelsesfælleshed, der etableres i interaktionen, er en betingelse og et udgangspunkt for sansningen af bevægelserne. Dansernes beskrivelser peger dog også på, at interaktionen kan være i fokus i forskellig grad. De to fænomenologisk relaterede analyser udfordrer dermed ideen om at kroppen skulle være fraværende for bevidstheden, når dansefærdighederne beherskes. I stedet er en tredje dimension af dansernes kropslige selvbevidsthed central for danserens præstation, og fornemmelser af bevægelsesfællesheder bearbejdes strategisk. Søgeord: tværvidenskabelig metodologi, danseforskning, professionelle dansere, argentinsk tango, sportsdans. Interweaving phenomenological explorations and ethnographical methods this paper aims at contributing to explicating how dancers use their sense of the physical body and its movements when training and performing their expertise. The aim is pursued in two analyses. The first analysis focuses on the practices of professional dancers, who in different ways are trained in ballet and contemporary techniques. Their descriptions reveal how the body’s physicality is present to their experience in a non-objectifying way while dancing. This kind of experience is to be considered an extra dimension of the dancers’ bodily self-consciousness, which concerns what the body feels like in a physical sense when undergoing the movement. The second analysis, which is based on the practices of tango dancers and elite sports dancers, focuses on how they come to form a shared body when dancing with a partner. Phenomenologically described, their bodies extend: their sense of movement includes the “other” in a fundamental way and unfolds on the level of operative intentionality. However, these dancers also make us aware that experiencing the body as extended and shared does not only “happen” but is worked strategically throughout their practice. Accordingly, the two phenomenological analyses challenge the idea that in the skilled performance, the expert is absorbed in the doing. Rather, an extra dimension of bodily self- consciousness is important to the dancers’ way of performing – and the dancers’ sense of movement involves continual processes of mutual incorporation. Keywords: interdisciplinary methodology, dance research, professional dancers, Argentinean tango, sportsdance.

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Journal articles on the topic 'Tango (danse) – Argentine'

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